Twentieth-Fox, employing somewhat the technique of The March of Time has parlayed the latter with facilities and files of the FBI in arriving at The House on 92nd Street. It doesn't matter much whether it's east or west 92nd - the result is an absorbing documentation that's frequently heavily-steeped melodrama.
Leo G. Carroll
Twentieth-Fox, employing somewhat the technique of The March of Time has parlayed the latter with facilities and files of the FBI in arriving at The House on 92nd Street. It doesn’t matter much whether it’s east or west 92nd – the result is an absorbing documentation that’s frequently heavily-steeped melodrama.
House is comprised of prewar and wartime footage taken by the FBI, and it ties together revelations of the vast Nazi spy system in the United States. Woven into this factual data, along with what the foreword reveals is a thorough cooperation of the FBI in making the film, are the dramatic elements inserted by Hollywood in general and 20th-Fox in particular.
Lloyd Nolan is the FBI inspector in charge of ferreting out the espionage on a secret formula sought by the Nazis; William Eythe is the young German-American sent to Germany by US-located Nazis (and the FBI) to learn espionage and sabotage; Signe Hasso plays a key link to the Nazi system in this country.
1945: Best Original Story (Charles G. Booth)
The House on 92nd Street
20th Century-Fox. Dir Henry Hathaway; Producer Louis de Rochemont; Screenplay Barre Lyndon, Charles G. Booth, John Monks Jr; Camera Norbert Brodine; Editor Harmon Jones; Music David Buttolph Art Dir Lyle Wheeler, Lewis Creber
(B&W) Extract of a review from 1945. Running time: 83 MIN.
Leo G. Carroll
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